Daily Dose Of Jazz…
Malachi Favors was born August 22, 1927 in Lexington, Mississippi. He began playing double bass at age fifteen and began performing professionally upon graduating high school. His early performances included work with Dizzy Gillespie and Freddie Hubbard. But by 1965, he was a founding member of the AACM – Association for the Advancement of Creative Musicians and a member of Muhal Richard Abrams’ Experimental Band.
Malachi was a protégé of Chicago bassist Wilbur Ware. His first known recording was a 1953 session with tenor saxophonist Paul Bascomb and four years later recorded with pianist Andrew Hill. He began working with Roscoe Mitchell in 1966 and this group eventually became the Art Ensemble of Chicago, for which he is most prominently known. Favors also worked outside the group, with artists including Sunny Murray, Archie Shepp and Dewey Redman.
Favors’ most notable records include “Natural and the Spiritual”, “Sightsong” andthe 1994 Roman Bunka collaboration and recording at the Berlin Jazz Fest of the German Critics Poll Winner album “Color Me Cairo”.
At some point in his career Malachi added the word “Maghostut” to his name and because of this he is commonly listed on recordings as Malachi Favors Maghostut.
Most associated musically with bebop, hard bop and particularly free jazz, Favors not only plays the double bass but electric bass, guitar, banjo, zither, gong and other instruments. Malachi Favors died of pancreatic cancer in Chicago, Illinois on January 30, 2004 at the age of 76.
HERBIE HANCOCK
Herbie Hancock Celebrates Miles Davis Centennial
This concert features some of the biggest names in jazz, including two of Miles’ former bassists—Ron Carter, who was a member of the legendary Miles Quintet with Herbie, as well as Marcus Miller, who produced Miles’ electric band classic, Tutu, Grammy winning trumpeter and composer Terence Blanchard, former Miles Davis saxophonist Kenny Garrett, esteemed bassist Christian McBride, and conductor, arranger Vince Mendoza. All told, that’s 45 Grammys on one stage honoring an absolute titan of music.
The program will feature music from throughout Miles’ career, including his collaborations with Gil Evans on the landmark albums Miles Ahead and Porgy and Bess, as well as a reimagining of his iconic late ’60s quartet and his fusion era.
Tickets: $39.00 ~ $759 (fee included)
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Requisites
Central Avenue Reunion ~ Art Farmer, Frank Morgan, Lou Levy, Eric Von Essen, Albert “Tootie” Heath | By Eddie Carter
It’s wonderful to be back with you all after some time away to recuperate from two surgeries earlier this month. This morning’s album from the library, Central Avenue Reunion (Contemporary Records C-14057) spotlights two of my favorite artists, Art Farmer and Frank Morgan. Recorded live in 1989 over two memorable nights at Kimball’s East, it reunites Art Farmer on both flugelhorn (tracks: A2, A3, A4, B1) and trumpet (A1, B3), and Frank Morgan on alto saxophone (A1, A2, A4, B1 to B3). An outstanding rhythm section joins them: Lou Levy on piano, Eric Von Essen on bass, and Albert “Tootie” Heath on drums. I own the 1990 U.S. stereo release.
The set opens with Star Eyes by Gene De Paul and Don Raye. Art sets the solos in motion on muted trumpet, leading the group through the relaxing melody. Frank takes flight first with a spirited solo that’s crisp and precise. Art takes the second statement with smooth efficiency. Lou takes a cheerfully appealing turn, and Eric follows with a short walk towards the restatement of the theme. Farmer’s Market by Art Farmer takes off at a fast gallop for the quintet’s opening ensemble. Frank gets right down to business first, then Art sustains the momentum with passionate fire next. Lou follows with a vigorous statement, then all the soloists share a brisk exchange before the closing ensemble comes to a dead stop.
Art and the trio pay homage to George and Ira Gershwin with Embraceable You, opening with a gorgeous melody. Art begins with the first of two exceptionally gentle interpretations, showing off his sentimental side. Lou follows with a short solo filled with warmth and sensitivity. Art returns with a thoughtfully graceful reading, leading back to the soothing theme. Blue Minor by Sonny Clark brings the ensemble back for a medium-tempo melody. Frank sets the pace with a wailing opening statement. Art takes the wheel next and continues with a jubilant reading. Lou has the last word and neatly wraps up the solos before the theme returns.
I Remember You by Victor Schertzinger and Johnny Mercer begins with Lou’s lovely introduction, which segues into the quintet’s lively melody. Art is in top form first, with a good-hearted swing. Frank works out a few intriguing ideas next, then Lou’s piano flows like cool water in a relaxing river stream. Art and Frank share a brief conversation into the closing chorus. Don’t Blame Me by Jimmy McHugh and Dorothy Fields is a beautiful ballad from the thirties that begins elegantly, with Frank and the rhythm section’s melody moving like a couple’s Sunday evening stroll. He continues approaching the song’s only solo from the heart, anchored by the trio’s subtle support, into a gorgeous reprise and ending.
Sonny Clark’s Cool Struttin’ brings the set to a close with the ensemble’s collective midtempo theme, setting a good tone. Lou comes in first and skillfully navigates the rhythm section. Art takes the next spot on muted trumpet with carefree enthusiasm. Frank sparkles next with steady sureness, and Eric delivers a delightful finale before the group’s theme restatement earns the audience’s approval. Helen Keane produced Central Avenue Reunion. Danny Kopelson managed the recording console, and George Horn mastered the album. The sound quality is exceptional, placing the listener in the audience as the musicians perform.
If you’re searching for an exhilarating hard-bop live session to listen to after a long day, evening, or week, I invite you to join Art Farmer, Frank Morgan, Lou Levy, Eric Von Essen, and Albert “Tootie” Heath for a Central Avenue Reunion the next time you’re out record shopping. It’s a lively, spirited performance of standards and originals, with thoughtful arrangements and inspired solos that offers many hours of listening enjoyment and shouldn't be missed for a spot in your library!
~Donna Lee, Don’t Blame Me, Embraceable You, I Remember You, Star Eyes – Source: JazzStandards.com © 2026 by Edward Thomas Carter
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CHRISTIAN MCBRIDE BIG BAND
Over the past three decades, 11-time Grammy Award winner Christian McBride has fronted ensembles that span and synthesize straight-ahead and experimental jazz, funk, soul, Latin, hip-hop and rhythm and blues. His celebrated groups include Inside Straight, Christian McBride Big Band, Ursa Major, Christian McBride’s New Jawn, The Christian McBride Trio and A Christian McBride Situation.
Several of those paths converged on Without Further Ado, Vol. 1, the Christian McBride Big Band’s 2025 album, which won the Grammy Award for Best Large Jazz Ensemble. For the first time, the 17-piece band shared the spotlight with a host of guest vocalists, including Sting, Samara Joy, Dianne Reeves, Cécile McLorin Salvant, Jeffrey Osborne and Antoinette Henry. The album includes covers of songs by The Police, Cole Porter, Carole King and others.
The bass-playing McBride and his band are likely to perform music from that recording and the group’s previous three albums, which feature jazz standards and McBride originals, at this larger-than-life concert.
Cover: $58.50 ~ $152.10 | Fees Included
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JOBIM & THE MUSIC OF BRAZIL
In the 1960s, Antonio Carlos “Tom” Jobim brought the bossa nova craze to the United States, and this infectious and sensuous sound soon became beloved throughout the world. We celebrate Jobim’s centennial and the jazz genres of Brazil—including bossa nova, samba and choro with Shelly Berg and the Frost School of Music’s Henry Mancini Institute Orchestra.
Featured Special Guests:
Eliane Elias ~ Piano, Vocal
Anat Cohen ~ Clarinet
Trio da Paz ~ Guitar, Bass, Drums
Cover: $52.65 – $152.10 | Fees Included
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